Tag Archives: writing buddy

Nicky A contacted me recently asking for tips about how to set up and run a critique group.

Thanks, Nicky. Really happy to blog about this because critique groups are amazing. Mine have been so helpful to me in developing my craft. I love my critique groups. Shout out to The Secret Scribblers, The Snorkers and The Killer Rabbits.

A critique group should be a nurturing, secure and inspiring environment so here are my tips on how you can achieve this.

My Australian critique groups helped me get this book to publication.

My Tips on Running a Group

Don’t have too many people. I personally think up to about four works best, although one of my groups is larger. Think about this. If there are ten people in the group and each one has a piece to critique, that’s a lot of time you spend reading other people’s work and not writing. Smaller groups can be more flexible because there are fewer people to please in terms of meeting times etc. Also, too much advice from too many people can get very confusing. Don’t be afraid to split a large group into smaller ones.

If you’re looking for members to start a group … be specific about what you are looking for in terms of experience, genre, and commitment to their writing. You want sharers in your group. People who will share publishing opportunities they hear about, and who will be there for you during the highs and lows of your writing career.

Generally, it’s helpful if your critique group comprises people of similar levels of experience. Otherwise, the more experienced writers become more like mentors/teachers and will eventually leave because they are not getting the feedback they want on their own work. The least experienced writers can become overwhelmed and daunted by the experienced writers. However, some groups of mixed experience work really well. It depends on the people and their commitment. And a critique group can be a great learning environment for everyone.

You don’t all have to be writing the same genre (sometimes it helps to have fresh eyes look at your work), but it’s good to have at least one other person in the group writing the same genre as you. That way you have someone who can give you feedback on whether you have met the conventions of your genre. The main thing is that all members have the same level of enthusiasm and commitment to the group.

Set guidelines for your group. For example, you might take it in turns with giving people the opportunity to submit their work to the group. That way nobody monopolises the critique time, and nobody is left out.

Critiquing works best if the person asking for the critique knows what they are looking for and can be specific in the sort of feedback they are looking for. For example, “I’m not sure if my main character is believable’ or “Is my ending too predictable.” Thinking about the kind of feedback you are looking for, makes you think deeper about your work. It also means that nobody’s time is wasted on giving or receiving unnecessary feedback. For example, if this is your first draft and you just want to know if people can engage with your main character, then having people read your work for typos or setting description can waste everybody’s time.

You can belong to more than one critique group. Different writers bring different things to the table.

If you’re writing for an international market it can help to be in an international critique group.

Establish at the start the times and methods of running the group. For example, one of my groups meets every fortnight. Another of my groups does most of our work online and we only meet about four times a year in person. It doesn’t matter if you never meet. With Skype, emails and other electronic means, it’s possible to do critiquing at a time and in a way that suits everyone’s lifestyle.

Critique groups need to be flexible. For example, you might decide to meet once a month. But what if one of your members has just received a FULL manuscript request from an agent? You may want to call an impromptu meeting to celebrate this, show support and perhaps critique aspects of the manuscript before it goes to the agent.

Everyone has different reasons for wanting their work critiqued. As I mentioned before, if you are specific with the aspects you want the group to look at, you will receive higher quality feedback.

Above all … have fun! Your group can have outings, retreats, get togethers … whatever it takes to help and inspire each other.

My U.S. critique group helped me get this book to publication.

WORKSHOPPING AND CRITIQUING TIPS

Be positive.

Be constructive.

Sandwich a negative in between two positives.

If you see a problem try to suggest a solution – don’t just say, “I didn’t like this.”

Don’t talk while your critiquer is having their say – if they didn’t ‘get’ what you are trying to say, you might need to get your message across more clearly and they might be giving you tips on how to do this.

Constructive feedback is critical to becoming a better writer.

OPENING

Does it hook you in?

Does it make you want to keep reading?

Does it give indications of what is to come?

PLOT/STRUCTURE

Is plot believable?

Was there a clear conflict/focus?

Did story follow plot arc/structure?

Did story start at right place?

Were there any scenes, paragraphs, characters etc that didn’t need to be there?

SETTING

Could you picture it?

Too much/too little detail?

Did places seem real?

Was setting consistent?

CHARACTER

Were character’s believable?

Did characters have depth?

Could reader relate to/feel empathy with characters?

Were character’s motives and conflicts clear?

Did characters change and grow as story progressed?

Was there enough contrast to differentiate characters?

DIALOGUE

Did dialogue seem authentic?

Did dialogue have purpose in the story – eg, show character or move plot along?

Were there too many dialogue tags?

ENDING

Was the ending believable and satisfying (had the loose ends been tied up)?